DOCSLIB.ORG

William De Morgan

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
William De Morgan Evelyn De Morgan. The Sea Mermaids, 1886-87. Photo courtesy of The De Morgan Centre. William De Morgan. A tile panel of a dragon. Photo courtesy of The De Morgan Centre. William De Morgan by Zita Thornton William De Morgan was one of the Pre- and pigmented, as well as designs for the Raphaelite set which included his friends Italian pottery Cantagalli. In 1907, De Burne-Jones, William Morris, Dante Gabriel Morgan retired from designing pottery, having Rosetti and Lord Leighton. Having trained at created over 300 designs. His work had been The Royal Academy School, he turned to highly prized, despite being very expensive, painting, furniture and stained glass. It was his and had decorated a number of P&O liners and interest in the latter that led him to a career as a yacht belonging to the Czar of Russia. The a potter. He remained closely associated with firm continued until 1911. At the age of 65, William Morris, both at the start of his career De Morgan embarked on a successful career as in 1863, when he produced designs for a novelist, producing five bestsellers. ceramics, in particular tiles, at the Morris De Morgan’s early tiles and dishes from works, and later when he had successfully the Chelsea pottery had neo-classical decora- established his own potteries. tions of putti and scrolls, as well as showing De Morgan left Morris’ company in 1872 the influence of William Morris in its stylised Lustre, 10.25in, c1890. Fulham. Photo to open his own pottery in Chelsea. There, he flowers. Playful or grotesque creatures courtesy of The De Morgan Centre. decorated Staffordshire earthenware blanks for shimmered in lustred tones of red, yellow, tiles and vessels, reviving the art of lustre pink, silver and gold. From 1875, he intro- decoration, and producing wares in a Persian duced ‘Persian’ colours of royal blue, violet style. Designs for his lustre pieces were trans- and green, inspired by fifteenth and sixteenth ferred on to blanks by shaking powdered century Iznik pottery. At Merton Abbey, he pigments through an outline of holes pricked added vases, bottles and bowls to his output, on a paper pattern, ready for painting and many in Oriental designs. He introduced a glazing with lustres. The Persian designs were range inspired by Hispano-Moresque pottery transferred by painting the design on to thin in bluish/grey, gold and the ruby red lustre paper which was placed between the slip and which is more desirable today than his Persian the glaze and which disappeared under the inspired work. He also used the favourite arts firing process, leaving the coloured pigments and crafts motif of a galleon, on a sea of on the wares. glittering waves. Tiles continued to feature in Ten years later he opened a pottery at his output either singly, in pairs, or as pictorial Merton Abbey, in Surrey. There he produced panels. At Sands End, he introduced the and decorated his own pieces and also collab- ‘Moonlight’ and ‘Sunlight’ series of double orated on tiled projects with William Morris. and triple lustre effects and continued to In 1888 he decided that the commuting produce richly coloured and decorated pieces. journey to Surrey was too long, so he opened The De Morgan Centre a new factory at Sands End, Fulham, even The first half of 2002 saw a lot of interest designing the machinery himself. The next in the influential arts and crafts designer, decade was De Morgan’s richest and most William De Morgan. In April, The De Morgan successful. Centre opened in Wandsworth, London and in Failing health meant that he was spending June, The Richard Dennis Gallery, Kensington half the year in Italy, and there he established Church Street, hosted an important selling a studio in Florence to produce his own exhibition of his work, including pieces which William De Morgan Centre. A selection of designs which he sent home already pierced had never before been on the market. flower tiles. Photo courtesy of The De Morgan Centre. ANTIQUES INFO - September/October 02 The Richard Dennis Exhibition included notable examples of tiles and tiled panels, vases and dishes from the whole of De Morgan’s career, many of which Richard Dennis had purchased 20 or 30 years ago. A selection of copper lustre dishes decorated with ship, bird and other creatures sold for between £5,000 and £7,500. There were many fine examples of single tiles. Red animal lustre tiles were £1,200. Tiles from Chelsea and Fulham with stylised florals or Islamic patterns were £600-£1,100. Tiled panels included sailing ships £8-10,000, a washstand with a tiled back, which rarely comes up for sale, £6,500 and an intriguing Italian tiled panel showing a figure of ‘Justitia’ from 1899 £10,000 with the middle section missing. A contemporary illustration shows what it looked like but no one knows where it is. There were dramatic vases from £1,500- Multi lustre vase, painted by Fred Passenger, 1,700 with and without single or double 12.5in, c1890. Fulham. Photo courtesy of The handles, including one similar to a vase which De Morgan Centre. features in a portrait of William De Morgan painted by his wife Evelyn, in the National Portrait Gallery. The De Morgan Centre gives a permanent home to the collection of his work owned by the De Morgan Foundation. It is appropriate that it should be displayed in South London as it has not been kept together for nearly 40 years, since it was in the keeping of Evelyn’s sister who lived in South London. The centre has moved into a building dating from 1887, the year the De Morgan’s were married, which was once the West Hill reference library. It provides plenty of space for the extensive collection of work by both William and Evelyn Evelyn De Morgan. Flora, 1894. Photo as well as archive material which will be courtesy of The De Morgan Centre. available for research students. Rare lustre dish, 14in, c1885. Merton Abbey. Photo courtesy of The De Morgan Centre. Visitor Information The De Morgan Centre is at 38 West Hill, Wandsworth, London SW18 1RZ. Telephone: William De Morgan Books 020 8871 1144. www.demorgan.org.uk Richard Dennis Publications produce two books about William De Morgan. Admission is free. Open: Monday-Wednesday The Designs of William De Morgan by Martin Greenwood £45 12-6pm Friday and Saturday 10-5pm. Closed William De Morgan Tiles by Jon Catleugh £9.95 Thursdays and Sundays. William De Morgan. A tile panel of a snake. Photo courtesy of The De Evelyn De Morgan. Night and Sleep, 1878. Photo courtesy of The De Morgan Centre. Morgan Centre. ANTIQUES INFO - September/October 02 .
Load more

Recommended publications
  • Evelyn De Morgan Y La Hermandad Prerrafaelita
    Trabajo Fin de Grado Lux in Tenebris: Evelyn De Morgan y la Hermandad Prerrafaelita Lux in Tenebris: Evelyn De Morgan and the Pre- Raphaelite Brotherhood. Autor/es Irene Zapatero Gasco Director/es Concepción Lomba Serrano Facultad de Filosofía y Letras Curso 2018/2019 LUX IN TENEBRIS: EVELYN DE MORGAN Y LA HERMANDAD PRERRAFAELITA IRENE ZAPATERO GASCO DIRECTORA: CONCEPCIÓN LOMBA SERRANO HISTORIA DEL ARTE, 2019 ÍNDICE INTRODUCCIÓN - JUSTIFICACIÓN DEL TRABAJO…………………………………....1 - OBJETIVOS…………………………………………………………....2 - METODOLOGÍA……………………………………………………....2 - ESTADO DE LA CUESTIÓN………………………………………....3 - AGRADECIMIENTOS………………………………………………...5 LA ÉPOCA VICTORIANA - CONTEXTO HISTORICO…………………………………………….6 - EL PAPEL QUE DESEMPEÑABA LA MUJER EN LA SOCIEDAD…………………………………………………………….7 LA HERMANDAD PRERRAFAELITA…………………………………...10 EVELYN DE MORGAN - TRAYECTORIA E IDEOLOGÍA ARTÍSTICA……………………...13 - EL IDEAL ICÓNICO RECREADO…………………..……………....15 - LA REPRESENTACIÓN DE LA MUJER EN SU PRODUCCIÓN ARTÍSTICA...........................................................................................16 I. EL MUNDO ESPIRITUAL…………………………………...17 II. HEROÍNAS SAGRADAS…………………………………….21 III. ANTIBELICISTAS…………………………………………....24 CONCLUSIONES…………...……………………………………………….26 BIBLIOGRAFÍA Y WEBGRAFÍA…………………………………………28 ANEXOS….……………………………………………………………..........32 - REPERTORIOGRÁFICO…………………………………………….46 INTRODUCCIÓN JUSTIFIACIÓN DEL TRABAJO Centrado en la obra de la pintora Evelyn De Morgan (1855, Londres) nuestro trabajo pretende revisar su producción artística contextualizándola
    [Show full text]
  • SANHS News the Newsletter of the Somerset Archaeological and Natural History Society Number 96, Spring 2020
    SANHS News The newsletter of the Somerset Archaeological and Natural History Society Number 96, Spring 2020 Archaeology, Archive, Historic Buildings, Library, Local History, Natural History, and Publications 1 Contents Editorial ........................................................................................................................... 1 From the Chair ................................................................................................................ 3 SANHS Events & Coronavirus ......................................................................................... 5 Library News 2019 .......................................................................................................... 5 Progress on the Norman Gardens .................................................................................. 7 Heritage Grants ............................................................................................................... 9 Somerset Folk Singers ..................................................................................................... 9 Enclosure at Park, Pitney .............................................................................................. 10 Human Remains near Westbury sub-Mendip .............................................................. 12 News from the Museum Collection Panel.................................................................... 13 Hannah & Edward Ellis & the artist Richard Phelps ..................................................... 13 Fungi Foray
    [Show full text]
  • The Clapham Society Newsletter
    The Clapham Society Newsletter Issue 357 May 2013 Our regular monthly meetings are Holy Trinity Church Organs held at Clapham Manor Primary On Saturday 11 May at St John’s Church, Lansdowne Crescent, Notting Hill, School, Belmont Road, SW4 0BZ. The W11 2NN the celebrated organist, Thomas Trotter, will give a concert on the newly entrance to the school in Stonhouse restored organ that originally came from Holy Trinity Church, Clapham Common. Street, through the new building, is The organ was installed in 1794 at Holy Trinity and arrived in Notting Hill in NOT open for our evening meetings. 1845 where it has been a working part of the community ever since. The organ has Use the Belmont Road entrance, cross been recently restored, and this concert celebrates its return to the church. Thomas the playground and enter the building Trotter is one of Britain’s most widely admired musicians. This solo concert includes a on the right. The hall is open from 7.30 programme of works by Bach, Elgar, and Messiaen among others. pm when coffee and tea are normally The evening will commence at 6 pm with the launch of the new permanent available. The talk begins promptly exhibition about the history of the organ and the church. This will be followed at at 8 pm and most meetings finish by 7 pm by a short talk entitled The Curious History of the St John’s Organ by organ 9.30 pm. Meetings are free and non- specialist John Norman, who will explain the historical provenance of the organ and members are very welcome.
    [Show full text]
  • Pre-Raphaelite Sisters
    Mariëlle Ekkelenkamp exhibition review of Pre-Raphaelite Sisters Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020) Citation: Mariëlle Ekkelenkamp, exhibition review of “Pre-Raphaelite Sisters ,” Nineteenth- Century Art Worldwide 19, no. 1 (Spring 2020), https://doi.org/10.29411/ncaw.2020.19.1.13. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. License: This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License Creative Commons License. Ekkelenkamp: Pre-Raphaelite Sisters Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020) Pre-Raphaelite Sisters National Portrait Gallery, London October 17, 2019–January 26, 2020 Catalogue: Jan Marsh and Peter Funnell, Pre-Raphaelite Sisters. London: National Portrait Gallery Publications, 2019. 207 pp.; 143 color illus.; bibliography; index. $45.58 (hardcover); $32.49 (paperback) ISBN: 9781855147270 ISBN: 1855147279 The first exhibition devoted exclusively to the contribution of women to the Pre-Raphaelite movement opened in the National Portrait Gallery in London in October. It sheds light on the role of twelve female models, muses, wives, poets, and artists active within the Pre- Raphaelite circle, which is revealed as much less of an exclusive “boys’ club.” The aim of the exhibition was to “redress the balance in showing just how engaged and central women were to the endeavor, as the subjects of the images themselves, but also in their production,” as stated on the back cover of the catalogue accompanying the exhibition. Although there have been previous exhibitions on the female artists associated with the movement, such as in Pre-Raphaelite Women Artists (Manchester City Art Galleries, Birmingham Museum and Art Gallery, Southampton City Art Gallery, 1997–98), the broader scope of this exhibition counts models and relatives among the significant players within art production and distribution.
    [Show full text]
  • 'Art of a Second Order': the First World War from the British Home Front Perspective
    ‘ART OF A SECOND ORDER’ The First World War From The British Home Front Perspective by RICHENDA M. ROBERTS A Thesis Submitted to The University of Birmingham For The Degree of DOCTOR OF PHILOSOPHY Department of Art History, Film and Visual Studies School of Languages, Art History and Music College of Arts and Law The University of Birmingham September 2012 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract Little art-historical scholarship has been dedicated to fine art responding to the British home front during the First World War. Within pre-war British society concepts of sexual difference functioned to promote masculine authority. Nevertheless in Britain during wartime enlarged female employment alongside the presence of injured servicemen suggested feminine authority and masculine weakness, thereby temporarily destabilizing pre-war values. Adopting a socio-historical perspective, this thesis argues that artworks engaging with the home front have been largely excluded from art history because of partiality shown towards masculine authority within the matrices of British society. Furthermore, this situation has been supported by the writing of art history, which has, arguably, followed similar premise.
    [Show full text]
  • PRE-RAPHAELITE STUNNERS at CHRISTIE’S in JUNE Works by Rossetti, Burne-Jones, Poynter and Leighton
    PRESS RELEASE | LONDON FOR IMMEDIATE RELEASE : 20 A p r i l 2 0 1 5 PRE-RAPHAELITE STUNNERS AT CHRISTIE’S IN JUNE Works by Rossetti, Burne-Jones, Poynter and Leighton London – This summer, Christie’s London presents a stellar collection of Pre-Raphaelite and Victorian drawings and paintings – one of the very best collections in private hands with museum-quality works, some of which have not been seen for decades. Offered as part of the Victorian, Pre-Raphaelite & British Impressionist Art sale on 16 June 2015, this beautiful collection features 45 works and is expected to realise in the region of £2 million. Leading the collection is one of eight works by Dante Gabriel Rossetti (1828-1882), Beatrice: A Portrait of Jane Morris (estimate: £700,000-£1 million, illustrated above left). The collection presents the opportunity for both established and new collectors alike to acquire works at a wide range of price points with estimates ranging from £1,000 to £700,000. Harriet Drummond, International Head of British Drawings & Watercolours, Christie’s: “Christie's is delighted to be handling this important and breath-takingly beautiful collection of paintings and drawings brought together by a couple of anglophile art lovers, who combined their passion for the aesthetic of the Victorian Period with the discerning eye of the connoisseur collector. It is the art of this Victorian era celebrating beauty through its depiction of largely female figures, from the monumentality of ‘Desdemona’ to the intimacy of ‘Fanny Cornforth, asleep on a chaise-longue’ that so strongly influenced our idea of beauty today.” With the recent re-emergence of interest in the Pre-Raphaelite Brotherhood, led by Tate’s Pre-Raphaelites: Victorian Avant-Garde exhibition in 2012, this collection represents many of the ‘Stunners’ who inspired their paintings and made their work truly ‘romantic’, including eight beguiling works by Rossetti.
    [Show full text]
  • Evelyn De Morgan 1855 – 1919 | Feminist – Spiritualist – Pacifist – Radical
    EVELYN DE MORGAN 1855 – 1919 | FEMINIST – SPIRITUALIST – PACIFIST – RADICAL CENTENARY SYMPOSIUM | 4 MAY 2019 | GUILDHALL ART GALLERY, LONDON 1. Itinerary 2. Abstracts 3. Profiles 4. Artworks on display 5. The Clink Events 6. Join ITINERARY 10.15 Tea, coffee and registration 10.45 Jean McMeakin, Chair of the Board of Trustees, De Morgan Foundation Chair’s Welcome Introducing Evelyn De Morgan 11.00 Sarah Hardy, De Morgan Foundation Curator and Manager Collecting Evelyn De Morgan 11.30 Dr Jan Marsh, Curator of the forthcoming ‘Pre-Raphaelite Sisters’ exhibition at the National Portrait Gallery ‘What Power! That is the way women should assert their rights’ 12.00 Lunch will be provided by The Clink Events 13.00 Tour of the Guildhall Art Gallery Collection, Katty Pearce, Curator, Guildhall Art Gallery Short talk on Evelyn De Morgan’s artwork on display with Sarah Hardy, De Morgan Foundation Curator and Manager Themes and Insights: A Closer Look at Evelyn De Morgan 14.00 Emma Merkling, PhD candidate, The Courtauld Institute of Art Formal Logic and the Real in Evelyn De Morgan’s Art and Spirit Writings 14.30 Dr Richenda Roberts, Lecturer in Art History at the University of Warwick Between an Ideal World and a Depressingly Real One: Proactive Pacifism and the Representation of Modernity in the War Art of Evelyn De Morgan 15.00 Dr Lucy Ella Rose, Lecturer in Victorian Literature at the University of Surrey Evelyn De Morgan: Suffragist Artist and ‘New Woman’ 15.30 Dr Nic Peeters, Independent Art Historian Family and Friends: The Re-Emergence of a Double-Portrait by Evelyn De Morgan prepared by (Dr Nic Peeters and Judy Oberhausen) 16.00 Panel discussions, questions from the Chair and the floor 1 ABSTRACTS Sarah Hardy, De Morgan Foundation Curator and Manager Collecting Evelyn De Morgan The De Morgan Foundation owns 56 oils paintings by Evelyn De Morgan, making it the largest, most comprehensive collection of the artist’s work in the world.
    [Show full text]
  • NEWSLETTER Scheme
    1 NEWSDESK Visits to the Museum Contents 1 Newsdesk 2 Despite the cold weather we have 2. Curators Report 3 3. Archives Report 4 continued to open every Wednesday 4. Other News 5 and Sunday during the winter 5. New Blocks 6 6 MAM & Priory Trust 7 months. Thanks are due to our 7. The River Wandle 10 willing band of volunteers who 8 Misplaced SIR Plaque 14 despite colds and ‘flu have kept the doors open. Since Christmas we have been pleased to greet 2 classes of year 2 children from Liberty Primary School making their first visit to our Museum. Although their school is named after Arthur Liberty, they did not know anything about him - hopefully they do now! In February we welcomed children from year5 of Haslemere Schools making the first of 2 visits as part of project set up by Merton Priory Homes involving their Junior Warden NEWSLETTER Scheme. During March we expect visits from Wimbledon U3A, the Friends of the De Morgan Centre and the National Trust Group from Morden Hall Park. Issue 77 February 2012 Events The Volunteers Christmas Party Figure 1 – Haslemere School’s out- was again a happy and successful put using our new blocks (see occasion. article on page 6 below) 2 The New Year Lunch this year was a change of venue and time. Over 20 William De Morgan people enjoyed a carvery meal at the Toby Carvery at Park Place Part of The De Morgan Centre's Lottery bid entailed working with Mitcham. It was nice to see some people attending for a lunch that another local history group.
    [Show full text]
  • Brightside February 2013
    The magazine of Wandsworth Council Issue 160 FEBRUARY 2013 New look adventure playground See page 9 Building an even stronger Wandsworth See page 15 Delivered to 140,000 homes - Balham Battersea Earlsfield Furzedown Putney Roehampton Southfields Tooting Wandsworth www.wandsworth.gov.uk Inside February 2013 news Residents welcome rail link 4-5 Healthy Wandsworth 6-7 Big society boxes clever 8 Chuggers challeged 11 Nine Elms update 12 Council’s priorities published 15-18 Historic pub back in business 19 Recycling answers 22-23 Community heroes honoured 24 Tara gets a makeover 25 features and regulars What’s On 27 Useful numbers 31 Cover photo shows the new style of play equipment being installed at Battersea Park adventure playground To obtain a copy of Brightside in large print or audio version please telephone (020) 8871 7266 or email brightside @wandsworth.gov.uk YOUR BRIGHTSIDE Why Wandsworth Your Brightside is distributed by London Letterbox Marketing. We expect all copies of Brightside to be delivered to every home in the borough and pushed fully through the letterbox. This issue of Brightside is being delivered from January 30 to February 2. schools are tops Your next Brightside will be delivered from March 27 to March 31. If you don’t receive your copy call us on (020) 8871 7520. Brightside is the civic magazine of Wandsworth Council. Wandsworth’s schools rank tenth in an Ofsted league table of the standard of primary It is produced by the council’s corporate schools in English local authorities. communications unit. It is the only publication delivered to every household in the borough.
    [Show full text]
  • Brightside October 2012
    001_BrightSide158:Layout 1 26/9/12 13:10 Page 1 The magazine of Wandsworth Council Issue 158 OCTOBER 2012 Boris bikes come to the borough See page 4 Building a stronger Wandsworth see page 19 Delivered to 140,000 homes - Balham Battersea Earlsfield Furzedown Putney Roehampton Southfields Tooting Wandsworth 002_BrightSide158:Layout 1 25/9/12 14:49 Page 1 No dentists in Wandsworth? Think again... Friendly NHS dentists are accepting new patients now! Call the find-a-dentist helpline on 0300 1000 897 or visit www.southwestlondon.nhs.uk and search ‘dentists’ or text ‘dentist’ to NHSGO or 64746 003_BrightSide158:Layout 1 25/9/12 14:51 Page 1 www.wandsworth.gov.uk Inside October 2012 news New jobs pledge 5 Drive for fairer rents 6 One stop reception 8 Children’s centre opens 10 Council tax benefit changes 12 Help for disabled youngters 13 Heathrow runway fears 15 Affordable housing choices 17 Fireworks update 24 Sports on your doorstep 25 Students across the borough once again proved they are among the features and regulars country’s brightest by notching up another impressive set of GCSE and What’s On 27 A-level results. Useful numbers 31 Wandsworth bucked the national trend with A-level results this year, with provisional results showing that a quarter of students achieved A* to A grades - up from 23 per cent last year. Nationally this figure dropped by 0.4 percentage points. The pass rate at A* to C was 74 per cent - up almost half a percentage point on last year. Meanwhile, GCSE results in Wandsworth have remained stable, following significant To obtain a copy of gains in 2011.
    [Show full text]
  • Sleeping Beauties in Representations of Antiquity and Their Reception (1860-1900) Anne-Florence Gillard-Estrada
    Beneath the Surface: Sleeping Beauties in Representations of Antiquity and their Reception (1860-1900) Anne-Florence Gillard-Estrada To cite this version: Anne-Florence Gillard-Estrada. Beneath the Surface: Sleeping Beauties in Representations of An- tiquity and their Reception (1860-1900). Béatrice Laurent. Sleeping Beauties in Victorian Britian: Cultural, Literary and Artistic Explorations of a Myth, Peter Lang, 2014, 303431745X. hal-02093331 HAL Id: hal-02093331 https://hal-normandie-univ.archives-ouvertes.fr/hal-02093331 Submitted on 8 Apr 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. 1 Beneath the Surface: Sleeping Beauties in Representations of Antiquity and their Reception (1860- 1900) Anne-Florence Gillard-Estrada British painting in the mid 1860s saw a prominent renewal of paintings of Antiquity that was to last until the early twentieth century. The painters concerned have sometimes been referred to as ‘Olympians’, ‘Neoclassical’ or ‘Parnassians’1 because of their academicism, their return to classic forms and their promotion of
    [Show full text]
  • “He Hath Mingled with the Ungodly”
    ―HE HATH MINGLED WITH THE UNGODLY‖: THE LIFE OF SIMEON SOLOMON AFTER 1873, WITH A SURVEY OF THE EXTANT WORKS CAROLYN CONROY TWO VOLUMES VOLUME I PH.D. THE UNIVERSITY OF YORK HISTORY OF ART DECEMBER 2009 2 ABSTRACT This thesis focuses on the life and work of the marginalized British Pre-Raphaelite and Aesthetic homosexual Jewish painter Simeon Solomon (1840-1905) after 1873.This year was fundamental in the artist‘s professional and personal life, because it is the year that he was arrested for attempted sodomy charges in London. The popular view that has been disseminated by the early historiography of Solomon, since before and after his death in 1905, has been to claim that, after this date, the artist led a life that was worthless, both personally and artistically. It has also asserted that this situation was self-inflicted, and that, despite the consistent efforts of his family and friends to return him to the conventions of Victorian middle-class life, he resisted, and that, this resistant was evidence of his ‗deviancy‘. Indeed, for over sixty years, the overall effect of this early historiography has been to defame the character of Solomon and reduce his importance within the Aesthetic movement and the second wave of Pre-Raphaelitism. It has also had the effect of relegating the work that he produced after 1873 to either virtual obscurity or critical censure. In fact, it is only recently that a revival of interest in the artist has gained momentum, although the latter part of his life from 1873 has still remained under- researched and unrecorded.
    [Show full text]